“Fine Art” on November 13th, 2015
Viewing: November 6th‒10th, 2015

Spectacular art find in Munich

The estate of the German-American artist and former director of the Munich Academy of Arts Carl von Marr is not only a recent discovery unknown to the public until lately, but also almost unique as to its original condition and state of preservation. Over 100 works by Carl von Marr as well as his historical in ventory will be presented in a special catalogue. Further highlights include outstanding 19th century works by Otto Grashof, Bodhan von Kleczynski, Albert Kindler and Cornelis Springer.
Carl von Marr is one of those personages to whom Munich, at the turn of the century, owes its reputation as an important artists’ city. The “Villa Messerschmitt”, having been maintained by his descendants until today, is the place where Carl von Marr gathered his treasures, which have finally come to light again. Among these treasures is a very personal work, titled “Der Maler” (The Painter) featuring von Marr’s close friend and fellow artist Pius Ferdinand Messerschmitt (Estimate: 20,000 – 30,000 Euro). This excellent offer, unknown to the public until lately, will be complemented by selected objects from the historic furnishings and domestic inventory. The dedicated special catalogue with a detailed essay of the former director of the Museum of Wisconsin Art, Thomas Lidtke, is a project of VAN HAM Art Estate, which takes care of the scientific research and management of artist s’ estates. The so far unknown works of art illustrate the evolution of von Marr’s style in an exemplary manner. Here, his monumental paintings play a crucial role. “Der Schritt der Zeit” (The pace of time), for instance, shows his interest in classical mythology and its expressionin large-scale allegories. “Der sinkende Tag“ (Declining day) – an explosion of colours against asymbolic backdrop – illustrates his inclination towards religious subjects and the circle of life.
In the regular catalogue for “Fine Art” the graphite drawing “Frühlingsabend mit Vollmond” (Spring evening with full moon) by the Dresden Romanticist Ludwig Adrian Richter stands out. In his expertise Prof. Dr. Hans Joachim Neidhardt states: “This pictorial, perfectly rendered drawing is closely related to Richter’s painting ‘Frühlingsabend’ (Spring evening) which the artist painted 1844 for the banker Anton Bendemann in Berlin and which is now held by the Kunstmuseum Düsseldorf.” This work on paper comes from the Eduard Cichorius collection with an estimate of 12,000 – 13,000 Euro.
Annette von Droste-Hülshoff  is considered one of  the most important  representatives of German late  Romantic poetry. Almost unknown are her delicate works on paper, which take an exceptional place in her oeuvre. The pictured so-called Thurn’sche Gut (Manor of the Thurn) is located at the Lake of Constance, where Droste-Hülshoff’s brother-in-law owned castle Eppishausen, in which she sojourned for quite a long time. This small, distinctive work has always remained in possession of the poetess’s family and been handed down from generation to generation as confirmed by an inscription on verso. As the estate of Droste-Hülshoff is in large parts held by the Universitäts- und Landesbibliothek in Münster (University and State Library of Münster), this small work is a particularly rare piece (Estimate: 35.000 – 45.000 Euro).
Albert Kindler became and remained a renowned and sought-after painter following his breakthrough in 1858, when the Düsseldorf genre painter presented his "Hochzeitszug am Rhein" (Wedding Procession on the River Rhine), of which one version will be called to auction this autumn (Estimate: 20,000 – 30,000 Euro). Kindler painted various versions of this motif, one of them is to be found in the Brooklyn Museum in New York.
The fine “Stillleben mit Sektflöte” (Still life with champagne flute) by Emilie Preyers is typical for the Düsseldorf artist and is characterised by a great attention to details (Estimate: 22, 000 –26,000 Euro). Between 1852 – 1857, the German artist Otto Grashof travelled widely in South America. One of the countries he visited was Brazil, where he painted an exotic landscape near Rio de Janeiro   in 1856, clearly discernible due to the Sugar Loaf Mountain in the background (Estimate: 45,000 – 60,000 Euro). In one of his letters Grash of states: “My next project will presumably bea record of the surroundings from the heights of a chapel about 1 ½ miles from Rio. I have to hurry to realise it, as the ruin will soon be demol ished ...” The small chapel on the right of the painting was denoted by Grashof himself on verso as “Capella de Sa. Anna.” This painting comes directly from Otto Grashof’s family having be en passed on from generation to generation. “Wilde Schlittenfahrt” (Wild Sleigh Ride) is a painting by Bodhan von Kleczynski, dated 1888 (Estimate: 12,000 – 15,000 Euro). Kleczynski is a representative of those artists of  Polish origin, who studied and worked in Munich in the 19thcentury and who are still very popular among collectors today.
Charles François Daubigny is one France’s of the most important 19th century landscapepainters and an important precursor of modern art.
His painting “Bords de rivière, le Soir” (Riverside, evening) from the legendary Gould collection was on display in the Metropolitan Museum in New York several years before 1900 and is one of his outstanding works that    captures the pure atmosphere of nature at sunset (Estimate: 17,000 – 22,000).
Félix Ziem’s“Segler of dem Bosporus vor Istanbul” (Sailing ship on the Bosphorus by Istanbul’s shores) against the backdrop of the Hagia Sophia is one of the most  important works with an oriental motif by this French artist (Estimate: 90,000 – 100,000 Euro).
The history of the painting “Die Sint Maartenskerk in Zaltbommel” (Saint Martin Church in  Zaltbommel) by Cornelis Springer has also been exceptionally well documented, as Willem Laanstra states in his expertise. Along with a documentation of the exact dates of his visit to ,Zaltbommel (September 1859), the city museum of Zal tbommel also holds his pencil sketch as well as his charcoal drawing of this view of a street. The presumably most precious version of this motif is a panel from 1867, commissioned by the London merchant Nieuwenhuys, which Springer authenticated on verso with his artist’s seal and signature (Estimate: 30,000 – 40,000  Euro). Among the Old Masters a richly detailed still life with fishery tools stands out. It was painted in the 17th century by a Dutch monogrammist and has various exhibition labels on verso (Estimate: 12,000 – 15,000 Euro).
Among the Old Master Paintings four works of the workshop of the Antwerp artists family Francken attract special attention. The works show multi figural mythological and biblical scenes – especially the “Triumphal procession of Bacchus”, in which expert Dr. Ursula Härting  assumes a cooperation of Hiernoymus Francken II. and his brother Frans II.
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all informations are given without guarantee of correctness



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